In the mid 90’s in the north industrial region of Brooklyn Dr. Israel came to be. Among the legendary dub label Wordsound, the growth of the NYC “illbient” scene, and in close proximity to Bill Laswell’s “Greenpoint Studio” doc began to construct his signature sound. Freshly back form a spiritual Pilgrimage in Jamaica Doc created a unique blend of music. Taking from roots reggae, dub, jungle, punk, and hardcore, doc began fusing musical styles with conscious lyrics, laying the groundwork for his own special blend of revolution. Doc released his first album “7 tales of Israel” (Wordsound ‘97), and followed it up with his first European tour.

Back in Brooklyn he began work on a series of new material, solo efforts, and collaborations, which culminated with his second solo release “Inna City Pressure” (Mutant 99). Doc was the toast of the music press. He was receiving great coverage in Rolling Stone, Vibe, LA Times & The Village Voice, among many others. Inna City Pressure had sold over 10,000 copies and Doc was, as they say in the Biz, “on his way.” Unbeknownst to Doc, the label had closed its doors for good midway through the tour, leaving Doc 3000 miles away from his home in Brooklyn supporting an album that no longer had a label. “They stopped returning my calls. Then all of a sudden their phones were shut off. We basically said, ‘Alright, what’s next?’ ” says Doc.

What was next for Doc was to take his music deep underground, where his disgust with the music business fueled his creativity. Doc quietly released multiple albums on Indies and collaborated with all sorts of folk, from Rancid to Sepultura to Bill Laswell, to Skiz Fernando of Wordsound. He began to build an extensive touring network, with show’s and guest appearances throughout Europe, Japan, Mexico, and the US. He also opened a multi-studio recording complex in Brooklyn which houses Doc’s own studio, revolutionsound, as well as the studios where TV On The Radio and the Yeah Yeah Yeah’s record.

Doc began his push back into the overground in a partnership with legendary punk/dub indie ROIR, who were the original label home to the bad brains. He started with the re-release of a remixed re-mastered “Inna City Pressure” which still had “legs” at radio and press, and was once again surprisingly well received.

He followed this up with a new collaboration, Dreadtone International, consisting of Doc flanked by two female vocalists, the sultry Lady K, and powerhouse Chemda. Dreadtone’s “Patterns of War” was released to even more critical acclaim than Inna City, and massive radio support in the U.S. and Europe. Patterns climbed to #1 on the CMJ new world music chart, and remained there for 7 weeks. In addition it received extensive commercial airplay in France and Belgium, not to mentioned hundreds of rave reviews Internationally. Doc also accelerated his already busy touring schedule, and has focused on bringing his revolutionary roots vibe to stages all throughout the world. Including two European, and four U.S. tours since Patterns release. These shows have included solo dub sets, appearances with Dreadtone International, unprecedented guest appearances with dub legend Mad Professor, and a vocal appearance with Heavyweight dub Champion at “Reggae on the River”, where doc rocked the Mic in front of over 17.000 crazed reggae fans.

Doc has also taken his revolutionary ideals to the screen. After the completion of Patterns, doc created a relationship with Brooklyn director writer Johnny K. The two began to develop Doc’s film concept “Ascend into Zion”, a futuristic sci-fi post globalization Rasta fight flick. They created a “short” version of the film that has now been picked up by Palm Pictures/ Comcast, and will be available in over 9.5 million homes in 35 states throughout the U.S.

Currently doc has been back in his compound in Brooklyn working on some new projects, catching his breath, and getting ready for another year of Touring. Keep your eyes open for a new solo dr. Israel album, a slew of collaborations and side projects, some phenomenal live performances, and a feature length film… Viva la revolution

Press Quotes

The most fully realized statement from the underground massive in quite some time. – VIBE

Inna City Pressure is a world music masterpiece. – CMJ

The most adventurous and cohesive reggae album of the late 90s…the most fully realized reggae concept album since Bunny Wailer’s Blackheart Man, and it reflects a level of originality and power that’s rare in any genre. – Boston Phoenix

Dr. Israel's Inna City Pressure is as catchy a fusion of dub-ragga weirdness and power-chorded rock as you'll ever hear…Original & inspiring. - Rolling Stone

This Brooklyn dub meister and his protégé, Lady K make throwback reggae feel utterly contemporary in this deep groove about perseverance - Spin Magazine

Music you need to download now #12 – Spin Magazine

Dr. Israel returns with a masterpiece, this is an understatement… - XLR8R

Suffused in gritty urban poetry, a sense of humor, a surprising respect for hard rock (Rancid and Clash covers, not to mention a whole song based on a loop of Black Sabbath's "The Wizard"), and a deeply rooted sense of spirituality, records such as Dr. Israel's late-'98 Inna City Pressure rise above the base elements of today's stoned-slow reggae, melody-deficient hip hop, songless electronica, and crotch-grabbing Korn-metal. – Village Voice

Of special notice is a truly ragga remake of "Armagideon Time,"…It's safe to say, with the improved production, that this may just be better than the original. – MTV.com

Did you ever wonder what it would be like to take the best portions of virtually every music genre, throw ‘em in a big cauldron and stir? Maybe it would be pleasing, and maybe a little chaotic. For Brooklyn-based artist, Dr. Israel, it’s that and a whole lot more…places him on the tounges of underground/alternative fanbases worldwide. – Black Beat

Deserves to be the sort of Next Big Thing the many, many publicists who get wet over the smooth integration of genres claim he’s going to be…The doctor really understands what dub, jungle, punk, metal and reggae have in common, and is demonstrably skilled enough to make them work together. In doing so, he drives home musical points that an army of hack critics haven’t yet been able to figure out…a rock and a hip-hop fan can groove to this. – NY Press

The album in both a history lesson and foretelling prophecy to the suburban rude-boys and girls looking for the futuristic, afro-mythic dub versions on The Clash. Buy this record. – URB